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A-side
B-side
Victor 17929-A and 17929-B
A cassette tape

The A-side and B-side are the two sides of vinyl records and cassettes, and the terms have often been printed on the labels of two-sided music recordings. The A-side of a single usually features a recording that its artist, producer, or record company intends to be the initial focus of promotional efforts and radio airplay, with the aim of it becoming a hit record. The B-side (or "flip-side") is a secondary recording that typically receives less attention, although some B-sides have been as successful as, or more so than, their A-sides.

Use of this language has largely declined in the 21st century as the music industry has transitioned away from analog recordings towards digital formats without physical sides, such as downloads and streaming. Nevertheless, some artists and labels continue to employ the terms A-side and B-side metaphorically to describe the type of content a particular release features, with B-side sometimes representing a "bonus" track or other material.[1]

History

[edit]

Conventions shifted in the early 1960s, at which point record companies started assigning the song they wanted radio stations to play to side A, as 45 rpm single records ("45s") dominated most markets in terms of cash sales in comparison to albums, which did not fare as well financially. Throughout the decade the industry would slowly shift to an album-driven paradigm for releasing new music; it was not until 1968 that the total production of albums on a unit basis finally surpassed that of singles in the United Kingdom.[2]

Today, with the vast majority of music released and accessed digitally on streaming services, the traditional A-side/B-side is obsolete as a technological necessity. Nonetheless, some contemporary artists have added on a second track to a single release as a nominal B-side, which can serve as an aesthetic choice as well as a promotional tool.[3]

Double A-side

[edit]

A double A-side, AA-side, or dual single is a single where both sides are designated the A-side, with no designated B-side; that is, both sides are prospective hit songs and neither side will be promoted over the other. In 1949, Savoy Records promoted a new pair of singles by one of its artists, Paul Williams' "House Rocker" and "He Knows How to Hucklebuck", as "The New Double Side Hit – Both Sides 'A' Sides".[4] In 1965, Billboard reported that due to a disagreement between EMI and John Lennon about which side of the Beatles' "We Can Work It Out" and "Day Tripper" single should be considered the A-side and receive the plugging, "EMI settled for a double-side promotion campaign—unique in Britain."[5]

In the UK, before the advent of digital downloads, both A-sides were accredited with the same chart position, for the singles chart was compiled entirely from physical sales. In the UK, the biggest-selling non-charity single of all time was a double A-side, Wings' 1977 release "Mull of Kintyre"/"Girls' School", which sold over two million copies. It was also the UK Christmas No. 1 that year.[6][7] Nirvana released "All Apologies" and "Rape Me" as a double A-side in 1993, and both songs are accredited as a hit on both the UK Singles Chart[8] and the Irish Singles Chart.[9]

B/W

[edit]
"b/w" redirects here. For the shortened form of "black and white", see black-and-white. For other uses, see B&W.

The term "b/w", an abbreviation of "backed with", is often used in listings to indicate the B-side of a record. The term "c/w", for "coupled with", is used similarly.[10]

Characteristics

[edit]

B-sides are often considered to be filler material: songs of lower quality. However, some pop artists such as Prince, New Order, Pet Shop Boys, Def Leppard, the Cure, Tori Amos, Bon Jovi, Oasis, and the Beatles have been particularly known for releasing strong material on B-sides.[11][12] B-sides have often been compiled on expanded or "deluxe" editions of albums or may be compiled into a "B-side compilation album" across multiple periods of an artist's career.[13]

B-side compilations

[edit]
Main article: List of B-side compilation albums

See also

[edit]

Notes

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

A-side and B-side

View on Grokipedia
from Grokipedia
The A-side and B-side refer to the two sides of a double-sided , such as 78 rpm discs or 7-inch vinyl singles, where the A-side features the primary track intended for promotion, radio , and commercial success, while the B-side contains a secondary track, often a filler, , or experimental piece of lesser initial prominence. This format originated in the early around as a practical means to include two songs on a single disc, becoming standardized with the advent of 45 rpm vinyl singles in the late 1940s, which allowed record labels to pair a with additional material. Throughout the mid-20th century, the A/B-side distinction shaped releases, particularly in genres like rock 'n' roll, soul, and R&B; for instance, in the , Bill Haley's "(We're Gonna) " emerged as a surprise hit from the B-side of a single, while labels such as and Stax frequently produced influential double-sided releases. B-sides often served as creative outlets for artists, enabling experimentation free from heavy commercial expectations, as seen in the Beatles' psychedelic "" backing "" in 1966 or Bill Withers' soulful "" in 1971, which became a defining hit despite its secondary status. By the and , the format evolved further with punk, , and extended 12-inch singles, where B-sides like 2Pac's diss track "" (1996) gained cultural notoriety without appearing on studio albums. The introduction of cassettes in the 1960s, CDs in the 1980s, and digital downloads and streaming from the 2000s onward diminished the physical necessity of A- and B-sides, leading to their decline as a standard release structure, though the terminology endures metaphorically to describe lead singles versus bonus or alternative tracks in modern music distribution. Despite this shift, B-sides remain celebrated for their role in musical innovation and unexpected breakthroughs, influencing compilation albums, rarities collections, and fan appreciation of an artist's deeper catalog.

Definition and Terminology

Core Concept

In the context of physical music records, the A-side and B-side denote the two audible surfaces of a single disc, with the A-side serving as the primary track selected for heavy promotion, radio play, and commercial emphasis to drive . In contrast, the B-side functions as the secondary track, frequently consisting of filler material, an version, or experimental content that receives minimal attention. This distinction allowed record labels to package two recordings economically while prioritizing one for appeal. The terminology originates from the physical pressing of phonograph records, where labels printed "A" on the prominent side to guide playback and distribution focus during manufacturing. Double-sided records with A and B side designations emerged in the late , becoming standardized for single releases by the 1920s by major labels such as Columbia and Victor to streamline cataloging, promotion, and consumer identification. This core concept underpinned the release strategy for phonograph-era singles, such as 78 RPM discs, shaping how music was consumed on early playback devices.

Key Terms and Notations

In the context of A-side and B-side configurations, "B/W" serves as a standard abbreviation for "backed with," a notation commonly employed in track listings to indicate the pairing of the primary A-side track with its accompanying B-side track on a single release. This shorthand, originating in the record industry, succinctly denotes the two-sided structure of phonograph records and later formats, such as "Song A b/w Song B." The term "flip side" functions as a colloquial for the B-side, highlighting its position as the reverse or secondary surface of a record, often implying lesser promotional emphasis compared to the A-side. This expression evokes the physical act of turning over a disc to access the other recording, underscoring the B-side's supplementary role in single releases. These terms appear frequently in discographies and from the through the , particularly in and pop genres, where they catalog pairings for archival and collector purposes. For instance, and His Famous Orchestra's 1953 shellac single lists "Blue Jean Beguine" b/w "Warm Valley," illustrating the notation's use in big band releases. Similarly, Billie Holiday's 1941 Vocalion recording pairs "" b/w "I'm in a Low Down Groove," a common format in vocal singles of the era. In pop, Elvis Presley's 1956 RCA Victor single denotes "" b/w "I Was the One," reflecting the convention in and emerging rock releases. on reissues and compilations often retain this phrasing to preserve historical release details, aiding researchers and enthusiasts in tracing original configurations. Official label designations typically print "A" and "B" directly on the record sleeves and center labels to clearly identify the promoted side versus the secondary one, adhering to industry standards for manufacturing and marketing. In contrast, informal fan usage favors "flip side" in discussions, reviews, and oral histories, emphasizing the B-side's accessible yet understated nature without the formal labeling.

Historical Origins

Early Development in Phonograph Records

The , invented by in 1877, revolutionized sound recording by enabling the capture and playback of audio on cylindrical wax or tinfoil surfaces. These early cylinders featured a single spiral groove, limiting playback to one continuous side per recording, which restricted content delivery and prompted the industry to explore alternatives for accommodating multiple selections without requiring separate discs. The transition to double-sided formats began with discs, as companies sought to maximize value from limited materials and playback time. In 1904, Columbia Phonograph Company introduced ten-inch double-sided discs at the World's Fair, featuring paired recordings with back-to-back labels to distinguish the two sides, priced at $1.50 each for nine initial releases. This innovation marked the earliest commercial differentiation between sides, laying the groundwork for the A-side/B-side concept by allowing two distinct tracks on a single disc. By the early 1910s, major labels formalized this practice for cataloging and distribution. The adopted double-sided records in its 16000 series starting in , with widespread issuance by , using sequential numbering and side indicators to organize releases efficiently in catalogs. This shift enabled Victor to pair popular tunes with complementary tracks, streamlining inventory and sales tracking. Industry drivers emphasized cost efficiency in pressing, as double-sided discs utilized both surfaces without increasing production expenses significantly, while enhancing appeal by offering greater variety—essentially two recordings for the price of one. Columbia's advertising campaign highlighted this benefit, promoting "double-faced discs" at the same cost as single-sided ones, which boosted holiday sales and accelerated industry-wide adoption.

Establishment in the Shellac and Vinyl Eras

The A-side and B-side format became firmly established in the 1920s with the standardization of 78 rpm shellac records, where the A-side typically featured the intended hit single intended for promotion, while the B-side served as a complementary coupling track of lesser priority. This double-sided structure evolved from earlier single-sided discs, allowing record companies to package two recordings affordably on durable shellac material, which dominated the industry until the late 1940s. The 78 rpm speed was formalized at 78.26 revolutions per minute in 1925 to suit motorized phonographs and accommodate the typical 3-4 minutes of playback per side, enabling widespread distribution for popular music and classical releases alike. The introduction of the 45 rpm vinyl single in by RCA Victor marked a pivotal advancement, solidifying the A-side/B-side hierarchy by designing the format specifically for jukebox operators and radio stations, with its smaller 7-inch size allowing stacks of up to 100 records for efficient playback. Unlike the brittle shellac 78s, the lightweight vinyl 45s offered improved durability and lower production costs, making them ideal for high-rotation environments like jukeboxes in diners and arcades, where the promoted A-side could be quickly accessed. This shift accelerated the singles market, as labels leveraged the format to target youth audiences through radio airplay, with the A-side positioned as the commercial focal point. In the rock 'n' roll era, the A-side drove chart success amid the genre's explosive popularity, exemplified by Elvis Presley's 1956 single "Hound Dog" b/w "," where both sides achieved massive sales and radio play, topping for weeks. Such releases highlighted how fueled the rock 'n' roll boom, propelling artists to stardom through and dissemination. Record labels' practices during this period were heavily influenced by , where promotions paid disc jockeys to prioritize specific A-sides on air, ensuring chart dominance for rock-oriented tracks from independent labels challenging major companies. These tactics, exposed in congressional hearings from 1959 to 1960, underscored the competitive selection of A-sides to maximize radio exposure and sales in the vinyl singles market.

Formats and Variations

Standard A-Side/B-Side Singles

The standard A-side/B-side single emerged as the predominant format for releasing tracks in the mid-20th century, consisting of a 7-inch diameter vinyl disc played at 45 (rpm), with a single recorded on each side. This format allowed for approximately 3 to 5 minutes of playback per side, making it ideal for concise pop and rock . The grooves on both sides begin at the outer edge and spiral inward toward label, a design that optimized by providing wider groove spacing at the start for better . Record labels employed a deliberate release strategy with this format, designating the A-side as the primary track aimed at securing airplay on Top 40 radio stations to drive sales and chart success, while the B-side featured a secondary recording, often an version of the A-side or a cover song, to add value without competing directly for promotion. This approach maximized placements and consumer appeal, as the B-side provided additional listening options at minimal extra production cost. A representative example from the 1960s is Motown's release of ' "" as the A-side, backed by "He Means the World to Me" on the B-side, which helped propel the single to number one on the in 1964. Global variations in the format's adoption highlighted regional differences in production and distribution during the . In the United States, the 7-inch 45 rpm single quickly supplanted the larger 10-inch 78 rpm discs after its introduction by RCA Victor in 1949, becoming the industry standard by the mid- due to its durability, lower cost, and compatibility with portable players. In contrast, the retained 78 rpm singles as the norm longer, with major labels like Decca and continuing production into the early amid postwar material shortages; the full transition to 45 rpm occurred by 1958, when the smaller format began outselling its predecessor.

Double A-Sides

A double A-side single features two tracks promoted with equal emphasis, deviating from the conventional hierarchy of an A-side hit and a subordinate B-side. This format gained prominence in the as record labels aimed to capitalize on artists with multiple strong songs, allowing both to compete for and chart success simultaneously. The Beatles pioneered this approach with releases like their 1965 "Day Tripper/We Can Work It Out," the first official UK Number 1 double A-side, marking a shift toward treating both sides as viable singles. A landmark example occurred in 1967 when issued "/" as a double A-side, their first single after ceasing live tours; both psychedelic tracks received joint promotion and charted together, reaching number two in the UK despite strong competition. The commercial rationale behind double A-sides was to maximize revenue and visibility when both tracks showed hit potential, avoiding the risk of one being overshadowed and thereby enhancing overall for the release. Later instances illustrated strategic adaptations of the format. In 1979, Queen released "" backed by a live version of "," promoting both as complementary hits to leverage the latter's established popularity from the 1977 album and drive sales of the new track, which topped the Hot 100. By the 1980s, the double A-side practice declined as cassette singles emerged, enabling labels to include extended mixes, additional tracks, or B-sides on multi-song formats that offered more content variety and reduced reliance on the strict two-track vinyl structure.

Characteristics and Practices

Content Differences Between Sides

The A-side of a single record was typically designed to be the promotional focus, featuring catchy melodies and a straightforward verse-chorus structure to maximize appeal for radio and jukebox play. These tracks were often kept to a concise 2-3 minutes in length, aligning with the technical limitations of early and the need for quick turnover in dance halls or on the airwaves. In contrast, B-sides frequently served as outlets for more experimental or less polished material, including longer improvisational jams, non-album tracks such as demos or live recordings, and alternate versions that allowed artists greater creative freedom away from commercial expectations. This distinction arose from the recording industry's practice of prioritizing the A-side for hits while using the B-side for supplementary content that might not fit album narratives. A phenomenon often referred to as "B-side syndrome" highlights how these secondary tracks sometimes yielded underrated gems that gained cult status among fans, outshining their A-side counterparts in artistic depth. For instance, Bill Withers' "," released as the B-side to "" in 1971, became a classic through DJ flips and eventual chart success, demonstrating the hidden potential of overlooked flipsides. Genre-specific practices further accentuated these differences; in punk music during the late , B-sides commonly featured raw, unrefined demos that captured the DIY ethos, as promoted by DJ who championed independent acts' experimental flips. Similarly, in soul recordings from labels like and Stax in the , B-sides often included instrumental "flips" by house bands such as , providing rhythmic backings or alternate takes that extended the A-side's groove without vocal constraints. During the mid-20th century, the production of A-side and B-side singles emphasized and cost control in the record industry, with the A-side designated as the lead track featuring the primary , while the B-side utilized existing or lower-priority recordings as a simple flip-side addition. This approach allowed labels to manufacture 7-inch 45 rpm vinyl records at low incremental cost, as the B-side required no separate production beyond pressing the disc, thereby increasing the perceived value of the single without the expense of a full release. Promotion strategies by record labels heavily favored the A-side, with promotional copies—often called "demos" or "white labels"—distributed primarily to radio DJs to encourage and chart success, a tactic that peaked in the amid widespread use of , where undisclosed payments to DJs ensured repeated spins of targeted tracks. B-sides received little to no dedicated or until the , when fan demand for artists' deeper catalogs began elevating their visibility through collector interest and occasional radio play. A prominent promotional trend emerged in the with the widespread adoption of picture sleeves for singles, which typically showcased vibrant artwork and photography centered exclusively on the A-side hit to attract buyers at retail and reinforce the track's commercial , often integrating elements like puzzles or illustrations. This visual emphasis further underscored the A-side's role as the marketable focal point, with B-sides remaining secondary in design and hype. Double A-sides occasionally deviated from this norm by promoting both tracks equally, but such releases were exceptions driven by strong dual-hit potential.

Cultural Impact

B-Side Compilations and Releases

The practice of releasing dedicated B-side compilations gained traction in the 1970s, as record labels sought to repackage non-album tracks from singles into cohesive collections, with ' No Stone Unturned (1973) serving as an early example that gathered eight previously issued B-sides alongside other rarities. This trend continued into the 1980s and early 1990s, exemplified by The Jam's Extras (1992), which compiled 26 B-sides, unreleased demos, and rare tracks from their Polydor era, highlighting the band's experimental side beyond their hit singles. Such releases preserved material that might otherwise remain scattered on out-of-print 45s, often including covers, live recordings, and outtakes that showcased artistic depth. These compilations primarily aimed to monetize overlooked tracks by bundling them for a dedicated of collectors, while also satisfying demand for comprehensive archival access to an artist's full output. By aggregating B-sides with rarities and alternate versions, labels could generate revenue from catalog material without producing new studio content, appealing to fans who valued the "hidden gems" not featured on main albums. For instance, Nirvana's (1992) collected B-sides and live tracks from their singles era, such as "" and "," alongside demos, providing a snapshot of their raw, pre-major-label sound and fulfilling collector interest in the band's indie roots. Record labels played a key role in this phenomenon, particularly in the post-Beatles era, where capitalized on enduring catalog value through anthologies like Past Masters Volumes One and Two (1988), which assembled non-album singles and B-sides spanning 1962–1970, including tracks like "" and "You Know My Name (Look Up the Number)." This approach extended into the 1990s with 's involvement in The Beatles' Anthology series (1995–1996), which incorporated select B-sides and outtakes to revitalize interest in the group's legacy, demonstrating how labels used such releases to maintain commercial viability of classic acts.

Influence on Artists and Fans

The A-side/B-side format provided artists with a unique opportunity to experiment on the less commercially scrutinized B-side, allowing for creative risks that might not fit the polished expectations of radio-friendly A-sides. In the 1990s, Radiohead exemplified this freedom by using B-sides to explore avant-garde sounds and unconventional structures, such as the ambient, looping "Pearly*" from their 1997 "Paranoid Android" single and the glitchy, industrial "Killer Cars" from the 1995 "High and Dry" release, which foreshadowed the electronic experimentation on later albums like Kid A. This approach enabled bands to test boundaries without label interference, influencing subsequent artists like Muse and Alt-J to treat B-sides as incubators for innovative ideas. Fans embraced B-sides as a gateway to deeper musical discovery, often trading vinyl singles through collector networks and informal exchanges in the and to access rare tracks. This culture of swapping 45 RPM records fostered a sense of community among enthusiasts, who prized overlooked B-sides for their raw energy and surprises, such as The Coasters' "Young Blood" (1957) or The Four Tops' "Loving You Is Sweeter Than Ever" (1966), which became collector staples despite initial obscurity. A notable example of fan-driven success is Queen's "," released as the B-side to "" in 1977; in Europe it was the flip side, but American fans and DJs flipped records to discover its stomping rhythm, propelling it to cultural ubiquity at sports events and beyond. During the 1960s British Invasion, B-sides from mod-aligned bands significantly shaped subcultural playlists and club scenes, blending American R&B influences with British edge to fuel the mod movement's emphasis on sharp, danceable sounds. Tracks like The Who's "Daddy Rolling Stone" and "Shout and Shimmy"—B-sides to early singles—captured the high-energy vibe of mod all-nighters at venues like the Scene Club in , where mods curated sets from such flipsides to embody their stylish rebellion against mainstream pop. This integration helped solidify the mod identity, with bands like and drawing from B-side covers of artists to create a soundtrack that prioritized rhythm and attitude over chart dominance. Over time, the rigid A-side focus of the singles era prompted a backlash that birthed (AOR) in the late 1960s, as artists and listeners sought holistic experiences beyond isolated hits. The dominance of 45 RPM singles on AM Top 40 radio, which prioritized short, promotional tracks, alienated progressive acts like and , leading FM stations to champion full LPs starting around and emphasizing deep cuts over B-sides. This shift, accelerated by FCC deregulation in 1965 allowing longer formats, encouraged the album as an artistic statement, diminishing the singles dichotomy and paving the way for genres like .

Evolution in the Digital Age

Decline with Streaming and Downloads

The advent of CD singles in the 1990s enabled releases with four or more tracks, including remixes and additional material, which diluted the traditional A-side/B-side hierarchy by presenting multiple songs as equals rather than a primary and secondary distinction. Maxi-singles exemplified this shift, as labels used the format's capacity to bundle extra content, reducing the emphasis on a single prominent track. The launch of in 1999 introduced widespread , which eroded physical single sales and paved the way for by allowing users to access individual tracks without regard for format sides. By the mid-2000s, platforms like facilitated legal track-by-track downloads, further eliminating the physical A/B-side structure as consumers opted for purchases or full albums, bypassing the need for bundled singles. In February 2005, integrated digital download sales into the Hot 100 chart, a move prompted by the sharp decline in physical single sales and the rise of services like , which treated each track independently without acknowledging side designations. This methodological update reflected broader industry trends, where digital metrics overshadowed physical formats and rendered the A/B-side concept irrelevant in chart calculations. Record labels responded by repurposing B-sides as digital bonuses in deluxe editions or online exclusives to incentivize purchases, yet the traditional dichotomy largely faded as streaming platforms provided instant, side-agnostic access to entire catalogs.

Modern Adaptations and Equivalents

In the 2010s and continuing into 2025, the vinyl resurgence— with U.S. sales reaching over 5.5 million units in the first half of 2025 alone—has prompted indie labels to reissue A-side/B-side singles as collectible 45 RPM formats, catering to enthusiasts seeking tangible reproductions of the classic single structure. For instance, labels like Green Noise Records have compiled and released vinyl editions of rare singles and B-sides, such as Martha's Standing Where It All Began: Singles and B-Sides 2012-2025, which packages non-album tracks alongside hits for archival appeal. Similarly, major artists have embraced limited-edition 45s; Taylor Swift's 2023 reissue of Red (Taylor's Version) as a 45 RPM four-LP set highlights how established catalogs are adapted into high-fidelity formats that evoke the A/B dichotomy through side sequencing. Record Store Day events in 2025 further exemplify this trend, with special releases pressed on multi-color vinyl explicitly labeled as "A Side B Side" to celebrate the format's revival among collectors. Digital platforms have introduced equivalents to the A-side/B-side model, adapting the concept for streaming and direct-to-fan sales. On , user-curated and label-backed s like "a-sides and b-sides" by or "Best of the B-Sides" compilations mimic the format by sequencing lead tracks followed by deeper cuts, allowing listeners to experience a simulated single flip. facilitates "A/B bundles" through artist pages like A/B Sides Music, where releases are bundled as digital counterparts to vinyl sides, offering primary tracks with bonus rarities for purchase. Meanwhile, TikTok's algorithm-driven virality often creates a lead track that explodes in popularity, positioning it as an A-side equivalent, while subsequent releases from the same artist serve as follow-ups; for example, 84% of songs entering Billboard's chart in 2024 first went viral on the platform, reshaping promotion around these emergent hierarchies. In , the A-side/B-side dynamic persists through the structure of 2020s EPs, where groups like designate a "title track" as the promotional lead—akin to an A-side—paired with B-side album cuts that gain cult followings. 's 2020 mini-album BE, for instance, featured dual title tracks "Life Goes On" and "" as focal points, with tracks like "Dis-ease" and "Stay" functioning as B-sides that highlight experimental or narrative depth, a practice echoed in their later releases. This approach, common in K-pop EPs, allows title tracks to drive chart success while B-sides foster fan engagement through streaming and fan theory discussions, as seen in MTV's recognition of 's "UGH!" from BE as a standout non-title track in 2020. Looking ahead, NFT platforms are experimenting with music singles as "primary/secondary" digital assets, where the original mint represents the A-side equivalent and resales in secondary markets generate ongoing royalties, mirroring the B-side's hidden value. Projects analyzed from 2021 to 2022 show that multi-edition NFT drops enable trading of exclusive tracks, with secondary sales providing artists streams that extend beyond initial releases. This model, projected to grow the music NFT market to USD 7.9 billion by 2033, positions NFTs as a forward-looking for ownership and discovery in a post-streaming .

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  45. https://www.billboard.com/music/rock/queen-we-will-rock-you-we-are-the-champions-jock-jam-interview-7972856/
  46. https://www.udiscovermusic.com/stories/uk-mods-blues-rock-punk-pop-music-feature/
  47. https://www1.udel.edu/nero/Radio/readings/AOR.html
  48. https://www.museum.tv/radio-encyclopedia/album-oriented-rock-format
  49. https://www.allmusic.com/style/singles-ma0000002561
  50. https://www.theguardian.com/music/2019/may/31/napster-twenty-years-music-revolution
  51. https://www.usatoday.com/story/entertainment/2024/06/01/napster-music-25th-anniversary-music-industry-impact/73871612007/
  52. https://www.billboard.com/pro/ten-years-ago-the-digital-download-era-began-on-the-hot-100/
  53. https://www.ajournalofmusicalthings.com/the-ongoing-history-of-new-music-encore-presentation-digital-debris-part-1-b-sides-and-bonus-tracks/
  54. https://www.ria.com/u-s-vinyl-album-sales-reach-6-9-million-in-2024-up-14-from-2023-ria-reports/
  55. https://store.greennoiserecords.com/products/martha-singles-2xlp
  56. https://www.discogs.com/release/30794133-Taylor-Swift-Red-Taylors-Version
  57. https://recordstoreday.com/SpecialReleases
  58. https://open.spotify.com/playlist/4nrnalk3Jnxwdj0SUIntrU
  59. https://open.spotify.com/album/6MpiiYr0pUp6ZGzkxinO0y
  60. https://absidesmusic.bandcamp.com/
  61. https://www.musicbusinessworldwide.com/tiktok-84-of-songs-that-entered-billboards-global-200-chart-in-2024-went-viral-on-our-platform-first/
  62. https://bts.fandom.com/wiki/BE
  63. https://www.koreaboo.com/lists/kpop-best-b-sides-2020-according-mtv/
  64. https://www.waterandmusic.com/after-the-drop-secondary-nft-sales-analysis/
  65. https://marketintelo.com/report/music-nft-market
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